A Victorian seaside breeze blew through this collection, which was filled with contrasting elements: hard and soft, chunky and delicate, tailored and fluid. Among Sarah Burton’s inspirations was the British paleontologist Mary Anning, the British shoreline and the era’s obsession for collecting and categorizing bits of nature. There was broderie anglaise everywhere, worked into long white dresses, tunic tops or short ruffle skirts. All that demureness was balanced by leather corset belts, harness tops or thick cashmere sweaters. Other dresses came as sheer lacy knits as delicate as lingerie, with ruffles, bell sleeves or breezy tiers on the skirts. Tailoring had a whiff of Victoriana, too, as in a shell print suit layered over a sheer lacy blouse. A long military coat with a slashed waist had an abstract Union Jack pattern and resembled something that might have washed ashore in a shipwreck.

Roland Mouret is eager for his woman to kick back, relax – or run around – with these fluid, draped clothes, which are meant for all-day or all-night wear.
Mouret described these pieces as “a best companion, a best friend” and said he wants his women to exhale into them. The collection was colorful and meant for movement, with sporty touches such as knits and sleeveless jackets with flashes of perforated fabric and a stretchy lining for a silver sequin gown, with a slit up the front. “You can run in it, move around and dance in it. You can live with this dress,” said the designer.
He worked bouclé stretch into a tailored suit and a fitted skirt and offered up a softly-structured, single–breasted trench with a belted waist. Other athletic touches came in the form of a ribbed knit tank dress and a languid jumpsuit with a stretchy waist, and loose tabard knits in bright colors. Things got even more comfortable with pajama–like tops and jackets that were draped at the back, and long tunic dresses with detachable skirts.

The designer took Tokyo’s dark side as his theme for this racy collection of neon sign colors, and textures and silhouettes that nodded to the city’s myriad sex clubs. The rubberized red lace dress and matching coat encapsulated the dark and slightly sinister mood of the collection, which was shot at night by Laurence Ellis.
Lacy lingerie dresses with barely there, rounded skirts had a Goth feel, as did a see-through black dress layered over a bright purple bra. There were some razor-sharp edges, too, in the form of pointed, jutting lapels on a black, rhinestone-edged satin coat and sporty tailored jacket. Softness came in the form of a two-tone hoodie with “More Baby More” written in iridescent letters across the front and a long and billowy white shirt proclaiming that universal truth: “Sh** Happens.”
During a walk-through, Kane said Tokyo has always offered “endless inspiration for me,” adding that his love of subversion is “never at the expense of the clothes. I want to empower women when they put on my work.”

Kanye West put on his best tap shoes and white gloves to put on a good old-fashioned minstrel show for President Donald Trump, after which he announced he’s heading to Africa. The Chicago superstar has officially been spotted on the continent, renting out a five-star luxury resort for an entire week.

Ye has landed in Uganda, and along with Kim Kardashian and the kids, they are going to spend the week vacationing in a five-star luxury resort which rests above the bank on the Nile River.

The front desk receptionist at the Chobe Safari Lodge tell The Blast the entire resort is “closed to the public” until October 19. They confirmed that Kanye West rented the entire joint for the week, and made it clear he didn’t want anyone bothering him or his guests.

During Ye’s most recent media stunt at the White House, he spoke on heading to Africa to get in touch with the energy that he expects the area will provide. He spoke on wanting to record in the middle of nature, and it appears his crew has set up a fancy NASA type dome in the middle of the plains to do just that.

West arriving to the Motherland would be big news if folks believed that he’ll connect with his roots but Yeezy is obviously too far gone. Hopefully, this isn’t another classic Kanye West troll moment.

Borgo de Nor has quickly built a name and a dedicated following around its feminine dresses, with their long, flouncy silhouettes, bold colors and intriguing, surrealist prints.
For its latest resort offering the brand has taken a new direction, sprinkling some equally desirable separates to its offer and reworking some of its dresses for the colder months of the year.
Designers Carmen Borgonovo and Joana de Noronha said the aim was to offer more entry-level price points to their customer, as well as a new, see-now-buy-now element, coinciding with the collection’s retail drops in the winter months.
Signature maxi, ruffled silhouettes were reworked with higher necks and longer sleeves, while the prints – which remained bold and vibrant – were set against a darker color palette of deep reds, emerald greens and blues, evoking a new, autumnal mood.
The design duo continued to explore surrealist art to inspire its prints, producing floral patterns with a more lively spirit and a darker edge.
Among the highlights was an “orchid-leopard print” inspired by a self portrait of surrealist painter, dancer and photographer, Rosa Rolanda, who is pictured with an animal-print orchid on her head.
“When I saw this painting it inspired me to take the idea of a

Like many others, David Koma has been influenced by the Eighties resurgence that’s been making waves on the catwalks and shop floors alike.
But the London-based designer managed to stand out in his interpretation of the hugely popular decade, making it his own by blending subtle Eighties references — a puff sleeve here, a crystal-embellished zip there — with his signature graphic lines and flair for modernism.
The result was a collection filled with desirable pieces that had the glamour and drama of the past and the sense of ease that speaks to today’s consumer.
Inspired by Helmut Newton’s swimwear photographs, Koma re-created his popular minidresses with curved, sporty necklines and ultra-thin shoulder straps. He also added a generous dose of sparkle with oversize crystals, silver sequins and Plexiglass. Heavy embellishment can be dangerous territory, but by keeping a monochromatic color palette and using the crystals or sequins to create graphic lines, Koma maintained a fresh, modern look.
Among the standouts were a white one-shouldered gown featuring a flashy sequinned side panel that aims to highlight the body, a black-and-white tuxedo dress with puffed silk-organza sleeves and black minidresses mixing graphic cutouts and soft draping.
Elsewhere, Koma continued to play with contrasts in a series

The ability of a fashion brand to grow slowly, without pumping out overtly trendy but continually refreshing silhouettes over the period of a few years while generating sales is an impressive feat in this day and age. Designer Marina Cortbawi’s line of roomy cotton silhouettes for Merlette, offered with thoughtful, smaller details each season, is an example of this type of brand. For resort, Cortbawi infused subtle “non-print” print into her otherwise solid lineup through a calla lily line drawing while adding hand-embroidered details to her ever-evolving line of easygoing, cotton attire. Although her customer stated they didn’t want a print, her artful Ellsworth Kelly, Robert Mapplethorpe and Georgia O’Keeffe-inspired flower was so subtle, even when embroidered on a caftan, that it fit just right.
For instance, her billowy tiered or smocked tops and dresses were given with gold handwoven stitching onto more updated, boxy shapes. Double-V eyelet tops with pintucking, Italian tumbled cotton dresses in navy and coral colored frocks with tie details also made for nice newness to the collection. Although there was a lot of newness, the pieces felt at home with Merlette’s unpretentious, resorty DNA, where fabrics are the forefront of design. For instance, two of Cortbawi’s most

An energetic urban vibe was injected into the Emporio Armani resort collection. Giorgio Armani kept the silhouettes uncomplicated to deliver a wearable wardrobe for dynamic city women. More structured pieces crafted from high-end fabrics with an evening look were matched with casual items. For example, a silk jacquard tailored jacket was worn with coated rolled-up denim pants, a textured shiny coat was shown with drawstring shorts and a denim jacket with an elastic logo band was paired with pleated silk pants. There was a playful pop attitude echoing in a silk dress worked in a heart print, while a linen skirt suit offered a fun office option. While an outfit combining straight-leg pants and a tunic top with a cutout detail on the back epitomized the brand’s discreet elegance, a range of breezy, airy colorful summer dresses introduced a playful, joyful note.

“Ladies and gentlemen of all ages, welcome to the Moschino circus!” boomed Jeremy Scott, who did his best P.T. Barnum as he strode into the ring of a giant blue-and-red-striped circus tent on Friday night.
Decked out in a black and gold skeleton suit and top hat, the designer literally took center stage before his combined resort 2019 and spring 2019 men’s runway show at the Los Angeles Equestrian Center, and he relished every moment of it.
“We have thrills and chills and plenty of frills tonight! You will witness death-defying acts of glamour! You will see beading and embroidery never before attempted in a setting like this! A kaleidoscope of colors will tantalize your eyes….So, without any further ado, let the show begin,” and with that, the crowd went wild before the first look had even hit the circular runway.
It was the third year in a row that the Moschino creative director elected to show these seasons in his hometown in June, and it was easy to see why. As guests pulled up to the gated grassy compound in Burbank (the horses were safely tucked into their stables for the night), they were greeted by a mini Ferris wheel, painted carts,

Creative director Emily Smith’s efforts to take Lafayette 148 into more youthful territory hasn’t gone unnoticed. She’s injected the brand with a sense of polished ease, balancing staple shirting with subtle updates against more fashion-driven statements that are still approachable.
She’s long mined inspiration from art, architecture and travel, this season focused on Sonia Delaunay, a Ukrainian-born French artist in the Twenties who also held roles as a costume designer and automobile designer. There was a gloss of Art Deco references with a fresh approach. Smith worked Delaunay’s love of geometric motifs into circular patterns decorating flirty dresses and stripes onto separates.
The big story here was the “third layer” item — lightweight outerwear that topped off looks without the weight. A silk trench in oversize check was both playful and cool, while an embossed leather duster maintained effortless sophistication styled over office essentials. The linear lines of one bluish gray coat were marked with hand-embroidered chains mirroring the contrast stitching of a core black and white group. The ease of the outerwear translated to other categories, too, namely boyfriend shirting and soft-tailored suiting — in particular, a ruby red set was the perfect holiday outfit for a girl who wants chic

“Don’t be restricted. Keep moving,” read Tadashi Shoji’s notes for their mostly sporty resort collection. Athletic references made for fresh daytime updates to the usually embellished evening brand aesthetic. There were dresses with graphic scuba cutwork, mesh sleeves, perforated knits and shoulder cutouts; two of the best included pleated skirts. A white lace number with a ribbed knit outline that resembled an athletic jacket also made for a fun, younger offering. When it came to logomania — full-length on longer evening gowns and in athletic band details — the brand should have stuck to its show notes and moved right along.

Who are the Salvatore Ferragamo customers? That’s the question the brand is trying to answer as it renovates its image.
For resort, women’s creative director Paul Andrew and men’s design director Guillaume Meilland worked together to define a cohesive and coherent wardrobe able to celebrate the brand’s heritage and at the same time to make the fashion house relevant for contemporary customers.
Rather than tapping too aggressively into current trends, they managed to develop a sophisticated, elegant dress code, which looked fresh and modern yet still sober and discreet.
Workwear served as source of inspiration for a women’s oversized denim trenchcoat punctuated by contrasting stitches, as well as for a flared skirt embellished with grommets and utilitarian pockets. This was paired with a sleeveless caban crafted from a precious double-face cashmere, which was also used for a chic asymmetric slipdress trimmed with blanket-like fringes at the bottom.
The impeccable sartorial attitude of the men’s suits, worked in lightweight constructions, also returned in the women’s range with slightly oversized blazers worn with tapered pants, which were cropped at the ankle to show the new Vara booties.
A sense of ease echoed in a group of cotton and linen pieces in classic safari-inspired colors. This included a men’s shirt

The personification of the Medusa. For resort, creative director Donatella Versace brought the brand’s iconic logo to life. From being a signature detail, the Medusa has become a feminine character, the strong, independent and beautiful woman inspiring the collection.
Her powerful attitude was reflected in the bold silhouettes, featuring constructed, strong shoulders and tight waistlines enhanced by big belts with eye-catching metallic buckles. Masculine blazers were tucked into high-waisted pencil skirts, while T-shirts layered under bustier tops were paired with pleated pants showing the waist embellished with chunky zippers. These also punctuated the sculpted blazers and the hyper-feminine dresses crafted from checkered and houndstooth fabrics with a mannish feel.
The Nineties vibe echoing in the shapes was exalted by the same decade’s Versace vintage logo splashed on oversize hoodies and denim separates, while a sort of mythological tale was the protagonist of a multicolor print, recalling antiques frescos, giving a flamboyant accent to shirts and pleated midi skirts.
Inspired by an archival motif, the new Alphabet pattern was introduced on a wide range of pieces, from a chic knitted twinset to a wrap dress recalling Gianni Versace’s first draped pieces, which were also celebrated through a group of nylon frocks.
Sophisticated embroideries, intriguing fringes and

A new romanticism, as well as a sense of lightness, delicacy and freshness, echoed throughout the Missoni resort collection. Creative director Angela Missoni was inspired by the candid and intense portraits of African farm workers collected in the “Farm” book by Jackie Nickerson. The photos were reflected not only in the collection’s bleached, oxidized natural colors, but also in the knot details and in the layering that defined the looks. For example, tiny knit sweaters and vests were worn over longer shirts and tunics in a new floral fabric with a paper-like effect. The fluidity of Missoni’s signature knitwear, worked in different weights and sophisticated tones, met the soft texture of the leather crafted for a coat splashed with a graphic print. Colorful linings created charming color effects on the see-through skirts, and tiny fringes introduced an ethnic vibe on pants and frocks. The brand’s artisanal quality emerged in a group of limited-edition coats crafted from a patchwork of archival fabrics, while the maxi draped dresses in solid tones, including a bold green hue, showed that Missoni isn’t only about playful zig-zags.

Every Marissa Webb collection begins with a man. It’s not surprising as the designer has cultivated a masculine-feminine narrative.
This season began with a deep dive into Google and an image of an effeminate male wearing a bleached jumper in a Seventies ad. (Possibly a date ad, Webb isn’t quite sure.) It inspired the bleached denim pieces in the collection — a couple of great high-waisted shorts with wide-leg openings, and a shirt jacket and jeans with distressing she does herself with a Dremel tool.
She also searched various names and places like Charlotte Rampling, Lauren Hutton, Thailand and Spain, which would explain the casualness in flirty dresses and suiting and the saturated color palette. Where Webb excels is at the intersection of the hard-soft, structured-fluid spectrum. Casual white Ts were dipped in paillettes, hand-painted floral patterns were cut into short suits, and ruching and ruffles were done in atypical crisp canvas to better maintain shape. Other highlights included feminine-inflected tailoring, like boxy blazers with ruffle sleeves, soft-tailored frayed suiting and leather pants with more leg room.
“Everything stands alone,” Webb said at a preview, adding: “Everything has a casual element, even if it feels dressed up, you can pair it with flats.”

Casual polish is the endgame at Veronica Beard, where sisters-in-law Veronica Miele Beard and Veronica Swanson Beard update American classics with novelty and, for resort, athletic undertones. They looked to the glamour and sexual femininity of the Eighties and early Nineties, delivering a blend of tailoring this season set against casual sportswear and colorful prints.
Elevated takes on suiting included an off-the-shoulder blazer styled with a multichain belt (which, really, would add considerable edge to any outfit) and a red blazer featuring the designers’ take on the double-breasted silhouette. Leather suiting and twinsets with detachable gold chains leaned heavily toward the Eighties, but were toned down with graphic “Veronica” Ts and track-inspired techno knit pants with great recovery.
There was also novelty. To wit: Bold plaids, scarf prints and engineered florals provided a playful visual element while denim featured crystal buttons. The designers also reworked classics like the trenchcoat into a cropped style with athletic stripes, a reversible version with plaid fabric, and into one of their signature dickeys.
With the anticipated opening of two more brick-and-mortar stores by the end of this year, the designers will need to offer as many dickey options as possible to the new customers they’ll be sure

The modern woman’s combination of strength and delicacy served as the main inspiration for this beautiful Fendi resort collection. In keeping with the brand’s latest fall runway show, creative director Karl Lagerfeld continued to define a special wardrobe where sartorial shapes and precise silhouettes were softened by handkerchief embroideries and exquisite, precious details.
Impeccable double-breasted jackets were cinched at the waist with sporty backpack-like closures and matched with cigarette pants showing attached pleated skirts. The latter were also shown in asymmetric kilt-inspired versions, as well in polished midi options, including a linen and silk style featuring the FF logo pattern in a fresh combination of aqua green and white. The look was finished with a matching bomber, an iconic item in a quintessential Fendi wardrobe, which also requires a touch of fur. To wit, the luxurious offering of fur pieces was centered on featherweight styles, spanning from a reversible fox fur vest embellished with a delicate eyelet collar to a shaved mink coat with floral appliqués in sorbet tones.
The hyper-elegant attitude of the ready-to-wear collection echoed in the accessories range. While the metallic cowboy boots introduced and eccentric touch, the bag styles were mainly presented in essential, quite minimal options, such as a Peekaboo X-Lite in

Purity, elegance, strength and quintessential beauty.
A brand with a strong heritage and a very specific identity, Jil Sander over the last few years has struggled to find its own way to refresh its image for contemporary customers and consequentially return to the relevance of its heyday.
In a fashion scenario dominated by a new maximalism and by untamed street wave, discreet sophistication, rationalism and a less-is-more approach might be considered out of fashion. But, actually, will good taste ever go out of fashion?
No, according to Lucie and Luke Meier, who delivered another convincing collection for the Jil Sander brand. With their quiet, soft-spoken approach, they are actually succeeding in developing a new contemporary language, which speaks of Jil Sander but through codes in sync with the current times.
The designers showcased a realistic wardrobe, filled with urban, highly wearable options, yet peppered with a fascinating twist. Their constant research for an approach projected into the future yet anchored by a personal and sensitive attitude resulted in the delicacy of the mattress-inspired quilted fabrics, the tablecloth-like Vichy patterns and the stretch seersuckers developed in a sorbet palette of light blue and yellow.
The silhouettes spanned from more constructed designs, such as impeccable coats with hourglass lines, to sharp-cut shirtdresses in crisp

The joyful, flamboyant mood of a tropical summer: For the resort season, Emilio Pucci’s design team embraced a happy, colorful aesthetic that injected an energetic vibe into the brand’s lineup.
A kaleidoscope of new prints, featuring a more graphic look compared to archival motifs, was juxtaposed with eye-catching solids, such as sunflower yellow, hot pink and strawberry red. There was something sensual about the fitted dresses and the mini skirts embellished with embroideries and trimmed with raffia fringes.
Breezy caftans were decorated with prints at the cuffs, while silk inserts gave a luxurious touch to cropped, wide-leg jeans. If a foldable maxi K-way showed the most sporty and practical face of the brand, evening dresses featuring all-over embroideries were designed for jet-setters.

Describing a fashion show as very “mother-of-the-bride” is not always a compliment. Yet it was accurate and deliberate in the case of Fernando Garcia and Laura Kim’s resort collection for Oscar de la Renta. If there was ever a time to go in that direction, this was it.
Garcia and Kim were already looking at a Wedgwood book by Rizzoli as a key reference for the lineup in February when “we got Meghan [Markle’s] phone call to help dress her mom for the royal wedding,” Garcia said after Tuesday’s show, referring to the ODLR ensemble Doria Ragland wore to her daughter’s, the Duchess of Sussex, nuptials last weekend. He noted that the request to dress the most watched mother-of-the-bride in recent memory and the bridal registry china inspiration were a happy coincidence, so the designers went with it.
The English pottery brand’s heritage informed many of the collection’s colors and patterns. Everything in the lineup would be appropriate for an event on a wedding weekend itinerary — the rehearsal dinner, reception, bridesmaids’ dresses, morning after brunch. The show opened with a series of ivory and pastel stretch wool dresses that were minimal in shape with hemlines cut like architectural petals. There were

Luxurious materials and shimmering effects are balanced by a sense of relaxed sophistication in the Fabiana Filippi resort collection, the first pre-collection introduced by the brand.
Cashmere and shearling, but also soft nylons, are laminated to inject a sparkling feel into the lineup, which this season included a range of outfits fitting the varied needs of contemporary women.
Lightweight double-faced coats are worn with unfussy wrap skirts, while chic pajama-inspired sets and elevated tracksuits are rooted in a practical, urban aesthetic.
A feminine feel is injected into the maxi frocks, crafted from both draped tulle and plissé silk, while an organza jacket combines a see-through look with a tailored cut.

Traditionally, the Roberto Cavalli label is linked with the high-end lifestyle. Creative director Paul Surridge tapped into this trait for the brand’s resort collection, which offers a versatile wardrobe for independent women who travel in style.
The fashion house’s signature wild animal motifs are juxtaposed with paisley and floral patterns for a lineup that combines more off-duty, eye-catching outfits with urban attire infused with contemporary functionality.
Lace-up details run over jackets and dresses, offering a modern take on the safari theme, while jacquards in leopard and python motifs are crafted for trenchcoats and biker jackets. The same patterns are splashed on fluid asymmetric frocks, also shown in fresh and colorful flower prints.
The brand’s craftsmanship is exalted by a covetable trenchcoat realized though the combination of several python vertical stripes in a range of pastel tones, while a ceramic mosaic on the lapel of a suit jacket shapes a sophisticated crocodile pattern.
Called in to refresh Cavalli’s image, Surridge is looking for the right way to balance the house’s flamboyant attitude with his more subdued and rational style. It’s a difficult task, but the first steps are promising.

Niall Sloan’s second collection as global design director ran the gamut of approachable day-to-evening fare. Where his fall debut channeled the eccentricity of Escada’s archive with an Eighties bent, here Sloan incorporated the season’s inspiration with whimsical flare.
He looked to the night sky — perhaps inspired by the clarity of his newfound home (the designer splits his time between London and Munich, where Escada is based) — in ways ranging literal (a billowing cloud print on a sharp-shouldered dress; a recurring star motif), to abstract (the use of Lurex and velvet to reference starlight).
Sloan has been focused on broadening the brand’s definition of cocktail while leveling a casual thread. The strongest pieces managed to balance flash with restraint, like the shimmery metallic gowns that shaped the body loosely, or a billowy dress with shooting star print. In two seasons, he’s demonstrated a playfulness not commonly associated with the boardroom-oriented Escada woman.
His playful hand extended namely into daywear. Shots of pink and green livened separates while a brushstroke floral print created through a collaboration with artist Laura Gulshani, who Sloan found on Instagram, provided a sense of youth. The most festive elements came in the form of beading that served as mismatched buttons

Florence served as a major inspiration for the Just Cavalli resort collection, the first designed by creative director Paul Surridge since his arrival at the company last year.
A view of the landscape of the Tuscan city, which is the fashion house’s hometown, as well as the iconic image of the marble statue of David by Michelangelo in Piazza della Signoria, pop up in the young and fun collection.
Rooted in an urban, contemporary mood, the versatile lineup offers a range of easy-to-wear pieces, spanning from multicolored jacquard sweaters, slipdresses layered over lace blouses, as well as a Barbie-like outfit, combining a miniskirt with a denim-inspired jacket, both crafted from baby pink leather.
The brand’s signature wild animal motifs are reworked through a graphic lens and mixed and matched on maxi frocks, while an ironic feel runs trough a lacquered yellow bomber worn with coordinated pants printed in a crocodile pattern.
Staying away from certain rock ’n’ roll and sexy clichés of the brand’s previous collection, Surridge managed to deliver an unfussy and unpretentious lineup of wearable yet eye-catching pieces for the real girls of 2019.

Men’s tailoring has always been the bedrock of Clare Waight Keller’s coed vision for Givenchy. In her debut last fall, she said her focus on sharp shoulders was directly derived from the work of founder Hubert de Givenchy.
For her first resort collection since taking over the creative direction of the label, the designer also delved into a lesser-known part of Givenchy’s heritage: a sportswear line that fed into a selection of looks infused with athletic ease.
“He actually did a sports line at the beginning of the Eighties — Givenchy Sport — and it was kind of interesting, because there, he really used a lot of the graphic designs and these sort of V-shapes,” she explained. “I thought it was interesting to mix that back into the more sophisticated tailoring part.”
Men’s logo track pants, or second-skin tops in technical fabrics, were overt nods to the athleisure trend that has swept through to high-end brands. It translated more subtly in the women’s looks, which included roomy separates in paper-thin glossy leather, done in subtle hues like forest green and Prussian blue.
The Eighties influence was overt with items like cowl-neck tops with batwing sleeves, or a burgundy jersey zip-up jacket with a black

No one is immune to influence. That’s why designers have mood boards. Tomas Maier’s brand is anchored in comfortable, everyday sportswear with a fashion attitude. What are the biggest things happening in comfortable, casual sportswear? Puffer jackets, tracksuits, windbreakers, logomania and, of course, the Eighties. Maier had it all in his women’s and men’s resort collection, handling pieces that are widely available elsewhere with his smart, thoughtful hand.
“It’s a little influenced by the early Eighties music scene, early hip-hop,” said Maier during a preview. Track jackets were reversible and pants, cut wide and slouchy, were done in washed flannel and felted wool jersey to give the dressed-down look a polished finish. Oversize cashmere sweaters and fitted knits in sporty graphic compositions were chicly athletic, likewise the down puffers and shearling and nylon jackets. Maier’s signature palm-tree motif was done in an Eighties Los Angeles way, the long, skinny palms printed against pink sunset skies. Adopting his branding to the seasonal theme that way made sense, though the same could not be said for cartoony graphic cassette-tape motifs, which felt too juvenile for Maier’s clientele.
Logos are everywhere, so it was less surprising to see “Maier” stamped boldly on shoes than it

After a fashion show, a critic typically rushes from the venue back to office, home, hotel, wherever, and writes as carefully considered a review as deadline — usually right now — permits.
Following Miuccia Prada’s cruise show last night, I ignored that deep-rooted conditioning to actually enjoy, rather than fret through, the post-show fete (Tonne Goodman — a delightful dinner companion), and went home to bed after what I thought was quite a strong show. A night’s sleep and some morning rumination told me I was wrong. Prada’s show wasn’t merely strong. It was brilliant.
Not deep-thoughts, esoteric brilliant, but aggressively commercial, resort-long-selling-season-give-me-a-smart-coat-and-pants brilliant. “It’s like a fantasy and the reality,” Prada said, describing her motif du jour. “Of course, [a show is] always a fantasy. It’s my fantasy on what today for me is real.”
A longtime holdout from the cruise extravaganza, Prada acknowledged that market realities ultimately forced her hand. “Everybody is doing more, and so you have to adapt, more or less,” she said.
So after years of sprinkling women’s cruise looks into her June men’s show, last year she staged a full resort show in Milan. This time she opted for another of her brand’s “homes,” its Herzog &

Kanye West has turned the Wyoming resort he’s staying at into Kanyeville … because he and his team are the hotel’s only guests. Our sources in Jackson Hole, Wyoming tell TMZ … the luxurious resort is currently closed to the public because it’s…

Joe Giudice has a pretty cush prison stay ahead of him while he’s locked up in Pennsylvania — the place is like a damn resort … even though it’s got its own “deal breakers.” Like we told you, Joe was transferred from a federal prison in Fort Dix,…

Roland Mouret loosened up for resort, presenting a series of fluid silhouettes in a monochromatic palette of red, black and white. There were flowing midi dresses, airy blouses and loosely draped jumpsuits.
Mouret also experimented with tailoring while staying true to his signature femininity; cropped trousers, pencil skirts and jackets were done in monochromatic tweed fabrics, featuring details such as lace trims and raffia fringing.
The eveningwear offer stood out for its bold floral patterns and delicate fil coupé fabrics, which highlights the designer’s efforts to introduce his take on demi-couture, offering decorative yet wearable pieces “for a new generation of customers.”

Inspired by English country gardens, Alexander McQueen’s resort outing was brimming with romance: Flowers were printed and embroidered on delicate chiffon mididresses, while knitwear and corseted gowns were designed to evoke caging. Juxtaposing the softer elements were slim suits done in a handwoven tweed, structured monochromatic blazers thrown over dresses and oversized trenchcoats. Embellishment was another key element. With the idea of family heirlooms in mind, Sarah Burton added heavy crystal embellishments in the shape of flowers on everything from gowns to knitwear, while suits were matched with statement necklaces.

Martin Grant has come up with a solution for keeping armpits dry during a heat wave: air-conditioned sleeves.
Puff sleeves, leg-of-mutton arms and dropped armholes were just some of the hot-weather hacks the designer deployed in his resort collection, which featured breezy drawstring-collared blouses and cool djellaba styles that worked equally well for the beach and the city.
“I like the fact of mixing these ethnic influences with something that’s very clean and structured,” he said.
Grant worked with patterns including irregular stripes, dots and a coral-inspired print, the latter appearing on a belted black-and-white tunic dress. French workwear fabrics inspired a selection of outfits in light blue cotton poplin, including a wide-leg jumpsuit and a peasant blouse with puffed-up sleeves.
Eveningwear skewed toward Eighties styles, with items like cocktail dresses in mismatched polka dot patterns with major sleeve action. Grant also worked that voluminous shoulder into an emerald-green silk top that delivered climate control with a theatrical flourish.
See More From the Men’s 2018 Collections:
Perry Ellis Men’s Spring 2018: The company injected performance features into its tailored clothing uniform and then layered on fashion.
Hecho Men’s Spring 2018: The spring collection expanded on singular, identifiable staples in new, still breathable, fabrics.
Boss Men’s Spring 2018: Designer Ingo Wilts used a variety of

In her final collection for Lanvin before her departure after just 16 months at the house, Bouchra Jarrar stuck to a mostly monochrome palette for outfits that alternated between trapeze dresses and her signature masculine-inspired suits.
Decorative touches included floral fabrics, lace trims and ruffled necklines. Jarrar added touches of color including the label’s signature blue, which was used on a powdery blouse with frills at the neck and wrists, unexpectedly paired with high-waisted pleated pants in a similar shade.
See More From the Men’s 2018 Collections:
Perry Ellis Men’s Spring 2018: The company injected performance features into its tailored clothing uniform and then layered on fashion.
Hecho Men’s Spring 2018: The spring collection expanded on singular, identifiable staples in new, still breathable, fabrics.
Boss Men’s Spring 2018: Designer Ingo Wilts used a variety of nautical references in the line.
Nick Graham Men’s Spring 2018: The designer was inspired by the ocean and Atlantis.
Descendant of Thieves Men’s Spring 2018: The designer toyed with the aesthetic of deviant Mods of the Sixties, balancing an energetic collection of colorful prints with relaxed silhouettes.

For his debut Paris presentation, rising Australian designer Toni Maticevski stuck to his signature sculptural silhouettes, mashing contrasting textures like sports mesh, tailoring and ornate brocades.
The moods meandered, too, from dark sexy creations showing a bit of skin to long double-breasted jackets in rose brocade and souffle tulle gowns, albeit with abstract constructions that tempered the princess tone.
Slogans nodded to titles of previous collections, like The Elegant Rebel or Tomboy Heiress, with the designer also incorporating a print inspired by old movie titles from the Thirties and Forties that lent a shadowy, melancholic note.
More From Paris Haute Couture Week Fall 2017:
Christian Dior Couture Fall 2017: As the house of Dior turns 70, Maria Grazia Chiuri designed her fall couture collection an homage to the house founder.
Atelier Versace Couture Fall 2017: The collection blended Baroque references and rock ‘n’ roll — with a soupçon of 3-D printing.
Iris Van Herpen Couture Fall 2017: For her 10th anniversary show, the designer sent out aquatic-themed creations to a performance by underwater group Between Music.
Paris to Honor Karl Lagerfeld at Chanel Couture Show: Mayor Anne Hidalgo is to decorate the couturier with a Grand Vermeil medal, the city’s highest distinction.

Highlights from the Pink label included bikers and reversible bombers lined with a splashy reinterpretation of a print from Japan’s Taishō Democracy period in the Twenties, which also played out on floaty dresses.
Among additions to the showroom was a full women’s capsule from the Exclusive line, part of the brand’s Black sub-line, focused on signature, mannish, plain suiting options with twists like dusty check prints and oversize spins on the shirtdress with bow ties.
Adding a dose of color was the scrunchy tie-and-dye stains splashed on T-shirts, shirts and Bermudas in polyester and crepe de chine. Summery options included twisted tanks and a white linen jacket with pleats at the back, while the brand’s Rismat casual subline also continues to gather momentum. Hits there included the super-relaxed, ample, hybrid cardigans and sweaters with tonal shirting sections in a range of lovely shades going from electric blue to dusty yellow.
More From Paris Haute Couture Week Fall 2017:
Christian Dior Couture Fall 2017: As the house of Dior turns 70, Maria Grazia Chiuri designed her fall couture collection an homage to the house founder.
Atelier Versace Couture Fall 2017: The collection blended Baroque references and rock ‘n’ roll — with a soupçon of 3-D printing.
Iris Van Herpen

Cassey&apos;s life is crazy enough. The last thing she needs is some cocky rich boy trying to destroy her business. Normally immune to these vultures, she finds this brazen hottie especially difficult to refuse. Out to close the deal of a lifetime, Luke won&apos;t take no for an answer, and the intoxicating beauty standing in his way isn&apos;t going to go down easily. He&apos;ll need more than business savvy to close this deal.

A good book, a soothing drink, a giant cockjust a few of the accommodations awaiting you during your Resort stay. Sit back, relax and soak in the scenery including Titan Men exclusives Dario Beck, Jay Bentley and Hunter Marx, who will give you a vacation to remember. After settling in, horny Hunter Marx goes on a manhunt and bends over for precum-leaking Colby White after the two drool on each others big throbbers. Christopher Daniels wraps his blond-bearded lips around Jay Bentleys shaft then fucks his face and ass in a romantic encounter. Conner Habib gets distracted by fellow furry Dario Beck the two feasting on each others boners before Dario takes it deep up his hairy hole.

Call it the circle of life. Trend-driven products with a sense of familiarity are not always a bad thing. For resort, designers turned to an array of common, wild animal prints — namely leopard, jaguar and zebra — reworking them into chic, wearable separates.

SURF’S UP: Basta Surf will soon tout wearable art for an upcoming resort collection.
The swimwear company is set to deliver in November a collection in collaboration with photographer Gray Malin, known for his images of dreamy beach scenes. The collection fuses prints used from Malin’s photographs onto Basta Surf swimwear.
Malin and Basta Surf founders Emily Ford and Samantha August pored over Malin’s image collection and ultimately narrowed it down to prints that were blown up to create patterns for the collection. One was shot in Australia overlooking the beach on New Year’s Day and captured a giant wave rolling through. The other print was shot in Lisbon and captures beachgoers, picking up the bright colors from the clothing and umbrellas dotting the landscape.
“One really celebrates the water and one really celebrates the beach,” Malin said.
The collection, in which everything is reversible, consists of nine pieces. A one-piece swimsuit will retail for $ 218, two-pieces for $ 235 and a halter jumper with neon tassels is $ 398.
The line will be carried in Barney’s, Shopbop and Neiman Marcus, among other retailers.
“We both clearly have a love of travel and that’s executed so beautifully with this product and the quality is what we both do

Designers indulged their fanciful side for resort as they added frills, flounces and ruffles to even the most classic of shapes. Dresses, skirts, tops and pants received these girly additions — some delicate and restrained, others bold and dramatic — all adding charm to the season.

Suits once implied a lean, ladylike skirt and a crisp jacket — that now-vintage look of the Ladies Who Lunch. But the concept has evolved considerably to include walking shorts or legginglike pants and culottes matched with blazers, cropped jackets and even vests. For the resort season, anything goes. Adding to the freshness: plenty of surface interest courtesy of lightweight pinstripes, seersucker and blurred plaids.

Resort collections are by nature attuned to the sand and sea. This season designers plunged into an ocean of blue, sometimes offering a subtle suggestion of nautical via stripes or a rope-inspired detail. The result was a moody mix of pieces that work in a city setting, too.

“It’s actually my first time going to anything fashion-related,” said ‘Fresh Off the Boat’s’ Constance Wu at Thursday evening’s presentation in L.A., where she was joined by Mary Elizabeth Winstead, ZZ Ward, Victoria Justice and Serayah.

What inspiration best suits a season that’s based on travel and leisure? Designers gave an enthusiastic nod to the tropics, using bold blooms and leafy botanical prints on both ready-to-wear and accessories to give resort looks a vibrant dose of color — and customers a tempting tease of island ambience.

Bridal designer Elizabeth Fillmore called her just-launched, 14-piece evening collection “Bohemian Aristocrat,” but these resort looks would be more aptly titled “Boudoir Aristocrat.” The designer chose silhouettes that have made her bridal business so successful — the best of which have a decidedly lingerie appeal. She showed lovely vintage lace trims, bed jackets (or capelets) in white and palest blue, Chantilly lace peonies over silk crepe, and a floating empire-waist silk slip gown in sky-blue and black.
“I want these clothes to be effortless and feminine with some edge,” said Fillmore. That bit of “edge” surfaced in a group of sexy, wildflower-printed black silk jacquard looks, especially the poofy high-and-low skirt and black lace poet blouse.

Affirming the direction of his first Nina Ricci runway show for fall, Guillaume Henry focused on texture and surface interest for resort as he worked delicate finishing more than embellishment and shapes. The deliberately simple offerings were the designer’s idea of something essential to an everyday wardrobe. “I don’t want the clothes to overshadow the woman,” Henry said. “The Ricci woman is revealed by the clothes, by a gesture.”

Masculine coats in chevron-patterned linen or silk “cloqué” in black or wisteria were worn over loose dresses with pockets to nonchalant effect. Frills, a classic element of the Ricci vocabulary, were evoked by the elasticized stitching on Liberty-style floral dresses or little nylon tops lined with silk georgette. Henry’s vision was evident in the details: The crinkled effect on a silk twill dress was repeated in the pleats of a holographic sequined rust-hued dress, a raw linen unlined coat was finished with silk chiffon, and silk and cotton tweed pleated skirts and matching jackets were constructed on an organza base to reveal the skin when moving.

Everything was soft and loose but neat and clean, as in the light tailoring of unlined jackets in Japanese wool worn over ultralong flared pants that elongated

A fashion show wasn’t enough for Miuccia Prada. Her Miu Miu Club event on Saturday night in Paris included the launch of the brand’s first signature women’s scent, a mega-extended cocktail hour, the resort 2016 collection parade and then a party featuring top-flight tech house talent, headlined by Seth Troxler, Cassy and Craig Richards. Oh, and those legendary party animals, Kate Moss and Naomi Campbell, too.

The Conseil Economique, Social et Environnemental had been decked out with industrial scaffolding, multiple bars serving lethal margaritas and a monumental deejay booth pumping out the beats.

Models whisked the perimeter overhead in clothes that were as chaotic, noisy — and fun — as the party, moving Miu Mui beyond its usual ladylike retro retreads into more raw and spontaneous fashion territory. Like the fragrance, with its notes of lily of the valley and a quirky turquoise bottle, here was a refreshed, younger and more daring Miu Miu.

The likes of Marc Jacobs, Maggie Gyllenhaal, Dianna Agron and Amber Heard craned their necks to take in the graphic, shiny and bold resort collection, an energetic mashup of silhouettes from the Fifties, Sixties and Eighties done up in hazard stripes, colorful wet-look surfaces and logo patches clashed with

Hussein Chalayan’s breezy resort collection took inspiration from Cuba, where he traveled last year and was taken with its “hybrid” of cultures: a blend of Spanish colonial, American and later, Socialist history. “We try to always create hybrids with the way we combine ideas, but the country itself is a hybrid,” said Chalayan.

To evoke the country’s mood, Chalayan wove a gray and white jacquard depicting dancing couples and a trombone player on a bustier top and matching shorts, as “there’s music everywhere,” he said. His take on Cuba’s military dress came in a sleeveless khaki dress with military pockets at the hips and a cigar-holding pocket at the bodice. It was a youthful lineup with fun elements, such as a print of an insectlike character called Plonk, taken from a Forties book by Joan M. Davies. Chalayan reimagined the character in Cuba, picturing it swimming in the sea, or studying a book of statistics.

Véronique Leroy made it clear that her resort collection was about real clothes, not fashion in any grand directional sense. She concentrated on fabrics she loves: cotton poplin, seersucker, silk crepe and knits. Shapes were based on a geometric square patterns, alluring and feminine on elongated, loose silhouettes. She morphed trenches into short jackets in an offbeat shade of salmon seersucker and used ribbed knits accents — suspenders, waistbands and collars — to inject a graphic contrast to voluminous silk-crepe styles.

Christian Wijnants’ first resort collection was directly inspired by his first flagship store, set to open September 8 in Antwerp. The 1,184-square-foot space, designed by Swedish architect Andreas Bozarth Fornell (the guy behind most Acne Studios stores), will play on the contrast between artificial and natural. For example, high-tech fabrics, such as Plexiglas and polyester, will mix with raw and natural elements, like cork and even herbarium specimens as wall coverings.

The lineup had a charming ease. Flat floral motifs influenced the collection’s prints, including abstract flowers that looked like they had been doodled on the fabric appeared on silk crepe, jacquard and textural knitwear. Crafty 3-D crochet flowers applied on dresses and tops were mixed with waxed cotton unlined parkas and shorts in a slightly strange bubble-gum pink color. The tension of natural/artificial continued in a simple, minimal cream sweater in linen yarn finished with white nylon ribbing, and a cocooned double-face jersey kimono coat in a linen and nylon blend.

Andrew Gn has been inspired by flowers for a while now — his last resort collection channeled London’s Chelsea Flower Show — and this season it took a beautiful and graphic turn via dresses blooming with stylized carnations, digitalis, marigolds and tulips that are prevalent in Persian tiles and ancient ceramics. As opulent materials come first for Gn, the theme proved ideal for the decorative motifs of the rich bespoke fabrics he used for gowns, dresses and coats, done either with multicolored thread embroidery on soft washed natural linen and flowing fil coupe fabric or with variations on the same flowers patterned on heavy textured jacquard. Some long gowns were also embroidered with iridescent and opalescent beads and crystals.

Blouses — one of Gn’s signatures, often worn with shorts — were done in a patchwork of eyelet cottons and guipure lace on organdy, while the designer offered more youthful versions of his graphic lace constructions in a zipped coat and varsity jacket. Another handcrafted-looking fabric was woven with paperlike ribbons to create an abstract landscape in sunset colors.

For her resort collection, Tracy Reese thought of a circa-1930s boardwalk and that feeling of a day at the beach. She channeled the retro vibe via ruffled bandeau tops and paired them with everything from crinoline skirts to cropped flared pants. But because she knows not all of her customers escape to tropical climates, she gave her city-loving girls ample wear-now alternatives, such as thermal and leather jackets, chic knit midi-skirt sets and her signature fit-and-flare dresses in both black and white lace and colorful prints.

The natural world served as inspiration for the Roberto Cavalli resort collection, which was designed by the label’s creative team. New creative director Peter Dundas will show his first lineup for the brand in September. Colorful birds and leaves were printed on a sleek tuxedo as well as on a silk blouse — its delicate, feminine attitude contrasting with bold laser-cut gold leather pants embellished with fringes.

The same decorative elements appeared embroidered on denim pieces, such as cropped and slightly flared jeans detailed with real feathers and an indigo shirt with a Western feel. The collection was also filled with the brand’s signature maxidresses, which included macramé column styles, oversize A-line designs and sexier see-through silk chiffon options.

For resort, Vivienne Tam paired down feminine decoration in favor of graphic geometric motifs delivered via stripes, dots and Asian-inspired lattice appliqués on crisp sportswear silhouettes, including boxy tops and shorts that had a whiff of tennis wear. She experimented with pleats and mesh appliquéd with lattice-work, but the simpler stuff was the best, such as a white cotton shift with navy appliqués and mesh panels.

A review of the resort collections puts those who worked with denim most successfully in two camps: Those who treated it as the solid foundation for day looks, and those who took it to new and, if you’re Ralph Lauren, couture-level places. The purists—Pookie and Louisa Burch at Trademark, Derek Lam at 10 Crosby, and Julie de Libran at Sonia Rykiel, for example—proved the harmony between their cool, commercial separates and a five-pocket blue jean by designing pairs cropped, flared, and wide-legged (any fit but skinny, really) to play noble-slash-supporting roles to everything else. Makes sense, right? In fact, the need of denim to complete and casualize a collection properly was something that Creatures of the Wind’s Shane Gabier and Christopher Peters talked about while presenting their very first jean pieces—a wide-legged style, pea coat, and skirt. We were happy to see it.

The other, totally opposite yet equally compelling expression of denim in resort came from designers like Jonathan Anderson (J.W.Anderson), Karl Lagerfeld (Chanel), and Nicolas Ghesquière (Louis Vuitton), who delighted us with sexy, cutout slip dresses, striped boyfriends, and denim-as-swim (what else would you call Ghesquière’s retro trunks?). You don’t need a good memory to know that denim can be made into more than just bottoms (it was still only less than a year ago—spring 2015—that it blew our minds being skirts and dresses, too), and yet, with resort, it was like the newness would never end! Alberta Ferretti cut it like a lace, Adam Selman perforated it, and Sea’s Monica Paolini and Sean Monahan covered it with a white, bandana-like print. Kudos to Ralph Lauren, who kept it raw and showed it as a three-piece suit. And the accessories—the accessories! At Stella McCartney, 3.1 Phillip Lim, and Pierre Hardy shoes and bags were embroidered, frayed, and cinched. Was one way—as the foundation for a look or the fashion piece that determines it—better or more relevant than the other? No. And that, perhaps, is the best thing about being a denimhead today. Big flare—or flair—don’t care!

When actress—and then-nominee for best actress for Skylight—Carey Mulligan took to the Tony Awards red carpet in a strapless and sculptural floor-length dress from Balenciaga, rumors swirled of a possible pregnancy. Fast-forward a few days and sources have confirmed that she and husband Marcus Mumford are expecting their first child and will head back to London after her run on Broadway in Skylight.

To celebrate the news, we picked out a few key pieces from the resort collections that the stylish actress may want to add to her ever-growing wardrobe for chic maternity ensembles.

A troubled young man, Danny, inherits an isolated hotel that may hold the key to his secret past. A trip to the resort transforms into a blood-soaked spree, as Danny’s friends are murdered by Three Finger and his cannibal kin. Danny ultimately learns that he has an unthinkable connection to the hillbilly clan, but now that he knows the shocking truth, he will face an even more horrifying choice.

When packing for Bonnaroo, Glastonbury, or beyond, according to the backstage beauty at today’s Stella McCartney 2016 resort show, the only thing you’ll want to bring with you is eyeliner. Drawn in multiple variations by makeup guru Gucci Westman, the flicks of jet black Chanel liquid liner and pencil were customized to each model’s eye shape. Delineated in strokes both thin and thick, some liner approximated the look of false lashes and a cat eye via a double swoosh at the outer corners, while others, drawn along both top and bottom lashes, crisscrossed at the eyes’ edges to dramatic effect that rendered mascara unnecessary. “It’s a cool girl going to a music festival,” said Westman of the eye makeup. “Not too perfect.”

Next came Westman’s approximation of the “nice clean skin” that usually results from a day spent on a field under a cloudless sky: a humidity-induced glow was re-created with highlighter on the cheekbones and a tawny swirl of NARS Bahama Velvet Matte Lip Pencil used as blush—a sun-kissed effect enhanced by a subtle smattering of faux freckles. Paired with hairstylist Frank Rizzieri’s athletically appealing low ponytail and manicurist Madeline Poole’s sheer nude nails in Sally Hansen’s Almost Almond—among the most chip-friendly polishes we’ve encountered—the look was made to take you from early afternoon acoustic sets to late-night headliners, only getting better as the hours go by. What could be more rock ‘n’ roll?

For resort, Donatella Versace reprised the Versace emojis she introduced for fall on sweatshirts emblazoned with bright letters that spelled out the house name and the Medusa image. There were also lingerie-inspired slips and tailored jackets spliced with micro-floral printed panels for a nice contrast of structure and fluidity.

The collection’s emojis, bright colors — acid green, pink and yellow — and shower-sandal slides were the kind of bright, kitschy stuff that make a kooky picture that may or may not generate a lot of “likes,” but it all felt like a desperate bid to communicate with youth. Versace already has a very defined language of sexy confidence and chic swagger, which was lost in translation in this collection.

Almost 20 years ago, as an indie start-up, Lafayette 148 debunked the tradition of Seventh Avenue showroom and headed downtown to the address that bears its name. Today it’s clear the label is a go-to line for that busy, well-traveled woman with better things to do than shop. With the anniversary in mind, design director Emily Smith looked to the quintessential New York woman and what she loves and needs. Also in a nod to New York, a series of aerial photos of the city became subtle references in the clothes: a fade-to-gray ombré pattern on a sweater that recalled a building hidden in the fog or suede paillettes with a touch of sparkle on a tank representing pedestrian-crowded streets.

The bulk of the line’s delivery is based on buy-now-wear-now — a welcome approach for season-confused sales floors. Suedes and knits were key elements, which played out best in a high-waisted red belted skirt with thigh-high slits paired with a red intarsia knit sweater or a rich taupe suede trench worn with soft cream signature flare pants with piping in double-faced wool that feels richer than their price tag. These weren’t game-changing designs, but they offered plenty of chic for that real

For their first resort collection, Laura Vassar and Kris Brock focused on Nineties minimalism, citing the type of clothing the late Carolyn Bessette-Kennedy might have worn, or Gwyneth Paltrow circa “Great Expectations.” The husband-and-wife duo focused on precise tailoring mixed with elevated basics and easy dresses, such as a pair of cashmere mohair styles done in black and white, and an elegant pale pink silk slipdress that could be layered under their felted cashmere bouclé sweater for a more relaxed feel.

New for the season was the couple’s first take on denim done in classic blue, high-waisted styles as well as motorcycle jackets in olive green ostrich or black leather. A few looks, including a cotton eyelet wrap blouse and a camel-colored shirtdress, had a chic utilitarian vibe.

For their first resort collection, Laura Vassar and Kris Brock focused on Nineties minimalism, citing the type of clothing the late Carolyn Bessette-Kennedy might have worn, or Gwyneth Paltrow circa “Great Expectations.” The husband-and-wife duo focused on precise tailoring mixed with elevated basics and easy dresses, such as a pair of cashmere mohair styles done in black and white, and an elegant pale pink silk slipdress that could be layered under their felted cashmere bouclé sweater for a more relaxed feel.

New for the season was the couple’s first take on denim done in classic blue, high-waisted styles as well as motorcycle jackets in olive green ostrich or black leather. A few looks, including a cotton eyelet wrap blouse and a camel-colored shirtdress, had a chic utilitarian vibe.

Danish designer Anne Sofie Madsen was groomed at Galliano and McQueen, so an avant-garde-slash-artistic approach to design is part of her creative credo. To that end, this collection emerged from an image she found online of the interior of an Eighties strip club in parts unknown — and perhaps the seedy clientele who might frequent such a place. The translation: a leather patchwork dress covered in appliqués that included mirrored paillettes, semicircular metallic balls and an exquisitely crafted leather flower, based on a Japanese design decor motif, that also showed up as a choker necklace elsewhere in the collection.

Madsen was similarly inspired by the “flasher coat,” or as she called it, “a conservative garment” that when opened reveals something quite different. Taking cues from masters such as Martin Margiela and Rei Kawakubo for Comme des Garçons, Madsen took the trench and literally had it come undone, appearing to be two coats — a thigh-length khaki trench layered as if falling off the other with asymmetrical plackets and belts hanging from wrist cuffs as long straps. The complicated motif worked best when imagined as a camisole dress with a layered sleeveless turtleneck or high-waisted black pants with the inner linings used as hip

Elegant, strong, feminine. Yigal Azrouël used those words to describe his resort woman, whom he outfitted in a chic collection of fluid dresses and softly tailored separates. The best example: a pair of relaxed, pleated culottes styled with a cape jacket that riffed on Azrouël’s signature motorcycle jacket, only softer. Of course, the signature leather jackets were in the lineup, too, one in bright red, the back emblazoned with an illustration of the designer’s French Bulldog, Jagger.

Azrouël also worked geometric and abstract floral prints onto his silk georgette tops, jumpsuits and dresses, weaving laser cutouts and sheer, black guipure lace throughout, which infused the looks with a romantic edge.

Known for her minimalistic, androgynous approach to fashion, Ji Oh kept her resort collection easy and relaxed but with touches of femininity. The young designer worked in neutral black, white, metallic gray and gold as well as varying shades of blue. She showed plenty of her signature wide-legged pants in pinstripes as well as belted slouchy trousers.

Oh worked with clean sharp lines and panel layers on everything from easy throw-on dresses and tops to skirts. The outerwear was terrific, notably the ponyskin trench.

Knitwear was anything but basic with a perfectly slouchy fit and extra long sleeves. You can see why she is a young designer to watch.

“I wanted her to be really powerful in a subtle way,” said Sally LaPointe of her girl for resort. “Each piece has that duality.” Her first thought was leopard print, which she muted and abstracted onto stretch-cotton pants, gauzy skirts and a gorgeous hand-beaded top in a subtly interpreted pattern.

LaPointe’s separates were notable for their day-to-night versatility and subdued sense of luxury; a black, rope-embroidered T-shirt embellished with matte beading and track pants covered in blue sequins were the best examples. There was plenty to love in LaPointe’s lineup, from a black utilitarian shirtdress in double-faced crepe to a slate-blue belted leather jacket.

A little over a year and a half into the life of Baja East, its designers Scott Studenberg and John Targon are already going back to their roots, revisiting some of the items that did well in their first collection: inky antique-patterned Bajas and skater shorts, and ikat graffiti cashmere sweatpants that are part of a burgeoning core collection.

That doesn’t mean they’re out of ideas. Consistency is smart for any new, relatively unknown collection, but newness is also necessary. Studenberg and Targon delivered it in blue-and-white striped cotton shirtdresses cut as a maxi halter layered with a wrap bandeau, and a shorter shirtdress over wide culottes. Everything with the exception of swim is meant to be worn by men and women alike, as part of the collection’s “ambisexual” look, which is sexier than one would think.

Zac Posen likes to cook and chronicle it on Instagram under the hashtag #cookingwithzac, which turns up images of visual feasts of penne puttanesca and lobster tail with sticky rice. The amateur chef used the images from that feed for his ZZP resort collection’s fruit and china pattern prints, and a speckled Neoprene trench was inspired by a quail egg.

As a concept, the kitchen references were kitschy and whimsical, and happily Posen kept them light. The clothes were refreshingly no-nonsense with smart tailored separates, a laser-cut leather top and skirt ensemble that referenced persimmons in the pattern but was mostly two cool leather pieces that could easily be worn together or apart, and easy evening silhouettes embellished with feathers.

Lake Michigan — where Pamella Roland’s nearby home sits on the water — served as the starting point for resort. “I had my design team there last year, and they were like, ‘Oh my gosh, the sunsets here!’” said Roland, who rendered the collection in shades of orange and pink to mimic a sun setting on water, one dress featuring an ombré of colors.

An orange floral lace jumpsuit was the collection’s most show-stopping party frock; other gowns featured blown-up floral prints and Roland’s signature patterned beading. A pale blue ballgown with a bustier top made from a “wave” of silver sequins embodied the collection’s water theme in a subtle, elegant way.

Judith Eisler’s recent solo exhibition in Los Angeles, “Close-Ups & Two Shots,” which explored ideas of perception and identity, served as the starting point for Misha Nonoo’s resort lineup. She fused feminine dresses and separates with classic men’s wear items, working a graphic element into the pieces via stripes and curved, ocular lines seen in patchwork on dresses, pleated appliqué skirting and knitwear in a blue, white and burgundy palette.

The collection also included a few denim items for the first time — a category Nonoo has intentionally resisted — such as a flirty cut-out dress and flared trousers. “Our woman is somebody who’s very busy with a full life, and I try to cater to her from day to play,” Nonoo said. “Versatility is important.”

Tadashi Shoji looked back to his childhood for inspiration. The memory of his mother hand-sewing kimonos, the patchwork gardens of peonies, the Sashiko patterns of decorative stitching — all personal memories that he drew upon for resort. Working in the color scheme of blues and white, Shoji showed delicate collage lace dresses, a basket weave jacquard frock with lace insets and a lace bomber jacket paired with a long transparent skirt. All of these looks were a fresh and young approach to evening.

Shoji also showed off his sporty side with lace T-shirts, a Neoprene jacket and slouchy trousers. You can see Shoji is clearly going after a younger customer, but just how young? Let’s just say he launched children’s dresses as well that are mini replicas of his ready-to-wear collections.

With three pre-collections behind her, Victoria Beckham finally felt comfortable enough with resort to show it to press. She approached it not as a season with a major theme, but one that answers the diverse wardrobe needs of her customers. “I really feel like I understand my customer. I understand what she wants and what she needs out of her wardrobe,” Beckham said. “It’s been great having the store at Dover Street to really get to know her more and more, so now feels like the right time to do this.”

What the customer wants: a balance between signature (read: sexy, body-con dresses) and fashion. Surrounded by racks integrating the two, Beckham highlighted the latter. She’s recently become interested in flourishes of cut, specifically asymmetric draping and folds. For resort, this gave the clothes a panache that swung to the easy side of arty. A fringed cape was cut on a slant over cropped, cuffed pants; the hem of a breezy white lace kilt dipped in faux-haphazard mien. A side-draped dress and tunic took sharper, geometric drops, each side-fastened with a white floral brooch, a small, delightful detail that carried through the collection. Yet as Beckham noted, her customer has multiple

The virtual union between Lancaster and Costa stemmed from a simple double-tap that occurred at the right time. “I had been following him [Costa] for a while and there was this moment where he posted an image from a runway show. I posted a bunch of hearts on it,” says Lancaster. “I think at the moment he was on his phone and saw the notification, and he quickly went over to my account and saw my work.”

A few weeks later, after Lancaster received a like from Costa on one of her black-and-white self portraits, as well as a follow-back, came an email request from Costa’s assistant to for a studio visit, and then an invitation to the fall 2015 show. “I was totally satisfied with him following me, and then having the studio visit, it was like it couldn’t get any better,” says Lancaster. “And then to be invited to his show, that had to be the best ever!” After she attended the show, Lancaster sent Costa a thank-you note with a drawing inside. He called back and asked her to make a large-scale drawing inspired by her original artwork, which eventually became the prints that were shown in the resort 2016 show. “When I first saw Alice’s Instagram, I was really inspired by how unapologetic she is about herself and her work. I love how she exudes this modern, erotic femininity in such a graphic way,” says Costa. “My collection this season is all about being bold and sexy, but in more of an urban way and the prints that were inspired by her work really helped this come to life.”

As for the clothes, the white cashmere T-shirt dress and black leather jacket are the perfect canvas for Lancaster’s angular interpretations of the female anatomy. But these looks won’t simply sit on the artist’s Instagram—she’ll be bringing the easel to life in her closet, as translated by Costa’s designs. “I can’t wait to wear the white dress!” says Lancaster. “It is something I would totally wear on its own.”

Lisa Perry has mastered the Mod Sixties look — and for resort she once again did not disappoint. Inspired by architect Giò Ponti and his use of monochromatic color, Perry worked her signature A-line shift dresses in shades of blue. There were bold stripes, playful circle pockets and plenty of graphic color-blocked styles. She also incorporated some interesting textural fabrics, such as a denimlike striped cotton dress with an interesting frayed treatment as well as a swing dress in clip-spot dots.
For holiday, the designer dressed up her simple retro shapes in a rich metallic jacquard geometric fabric with a mink fur trim. It was over the top, but it worked perfectly in Lisa Perry’s world.

Nicole and Matthew Mellon recently ventured to St. Barths, drawing from the island’s French influence, sophisticated locals and washed-out colors. Their resort collection was all about soft, easy dressing and pattern mixing, the best looks being a series of printed silk chiffon drop-waist minidresses with ruching and lace-up necklines in soft blues and olive greens.

Sheer chiffon sweatshirts, lightweight knitted sweaters that mimicked lace and shimmering metallic jersey tops proved a perfect match for layering over the brand’s sequin shorts, painted over with a subtle crackle effect. “We like using chiffons for jackets and sweatshirts, and then sequins on cut-off shorts….It’s about dressing up the more casual items, and dressing down the dressier ones,” Nicole said.

Though Diane von Furstenberg’s creative director Michael Herz called the collection “just really easy resort pieces,” an aura of controlled bohemianism ran through. Prints and languid lines anchored the lineup, with mixed patterns — florals of contrasting scale or mixed with dots; an indigo woodblock appropriated from a vintage kimono find — used for long skirts, wide trousers and a new take on a wrap dress, an apron style.

While coordinating sweatshirts and pants in engineered prints had an Eighties look-good-at-the-airport vibe, the prevailing mood harkened to the prior decade, particularly several jumpsuits. Designed to look like blouse-and-fluid trouser combinations, these veered smartly from boho toward a Seventies-by-way-of-Forties vibe.

Michael Kors hated geometry in high school. For resort he revisited the subject, finding a new affinity and far better results than his sophomore-year 68 average. Intentionally or otherwise, there was a bit of the math geek to his blazers — he’s bringing them back, baby — knife-pleated skirts and cropped pants. And when’s the last time you heard of a dickey (of the collar-only variety)? Throughout, he played black, white and camel off of “happy colors — acid green, aqua, geranium.”

Yet for all its girlish charm, this collection lost none of the typical Kors-ean chic, nor its luxury. His customer is a math geek who discovered some obscure algorithm that she developed into an Internet start-up that made her rich enough to commission Harry Potter-striped mufflers and hexagon intarsia coats in wildly indulgent mink. And Kors countered the structure of shantung and sturdy crepe with a lovely scarf-dressing story, including hexagon-print shirt looks with French cuffs left deliberately undone.

Accessories also got with the geometric program. Clutches, shoulder bags and chunky platforms were color-blocked with bravado. But ever the pragmatist, Kors knows that sometimes a mile-high shoe just won’t do. Thus, his flat, mannish slide. “I always love a shoe,”

Resortwear at Carolina Herrera started with a feather illustration. “I adore feathers,” Herrera said. “It’s all about color and very simple shapes. Effortless.” That idea of lightness came through in the collection’s easy, minimalist proportions — a strapless minidress in layered chiffon, tea-length skirts in silk faille and exaggerated culottes in lightweight jacquard — done in shades of coral, red and pale blue, some embellished with appliqués or floral- and feather-print motifs.

Herrera’s lineup also included a few chic daywear offerings, such as silk floral-printed pants, tunics in tweed and cotton and plenty of matching separates, such as a red-and-white-striped skirt suit. For evening, Herrera worked a series of brilliant yellow looks against a black flower print, a bold and elegant contrast. But it was a pale blue cropped top and ball skirt — embellished with a single carnation at the waist — that encapsulated the collection’s delicate take on femininity.

“We were looking at folk images from the Sixties and figuring out how to modernize them for the season,” said Erin Beatty of Suno’s resort lineup, which she codesigned with Max Osterweis. “There’s sort of a controlled hippie vibe.”

The duo worked traditional folkloric prints, mostly flower motifs and geometric patterns, into a melange of elevated fabrics, some adorned with embroidery and appliqués in contrasting and slightly retro colorways, such as red and pale blue. More casual offerings included a series of crisp white poplin separates, bohemian embroidered blouses and cotton T-shirts — a new category for the brand.

Simple silhouettes peppered with vivid patterns were at the heart of creative director Angela Missoni’s chic resort collection for Missoni. The fashion house’s signature graphics gave a fresh, vibrant attitude to a range of pieces, including a knitted intarsia maxidress with a slightly Seventies vibe and an A-line cotton raschel jacket paired with amply flared matching pants.

Missoni also delivered a range of easy-to-wear minidresses, such as an intarsia knit tunic with long sleeves embellished with an artistic pattern reminiscent of paint brushstrokes.

The maxims of Donna Karan abounded for resort: “I wanted to show the purity, the simplicity,” she said before the show. “It’s very cleansing. It’s almost like a little bit of a new beginning.” Show notes were titled “East Meets West, Black Meets White,” and delineated the new “serene 7 easy pieces,” including a worker jacket, a simple top and the modern kimono.

The cleansed palette of ivory and black captured the calm Karan was striving for on trapeze jackets and wide-leg cropped pants and Bermudas that were elegantly casual, if at times a bit clunky. Karan, who noted she has never been to China, turned to Asia in general as inspiration for the collection, showing an abundance of wrap kimono tops and obilike constructions in architectural silhouettes with jacquard details. While the neutral colors and cuts amounted to a glamorous Zen, they made one grateful for the few pretty pops of pink and the softly effusive feather and embroidery embellishments used for eveningwear.

“I was really interested in the idea of color and texture,” said Joseph Altuzarra, as a model in a slimly tailored white suit, plain but for the subtle fringed seams, opened his resort presentation. If the look didn’t exactly illustrate his point, it provided the fundamentals on which the collection was built: tidy yet subtly sensual tailoring and texture that accented the body. From there, Altuzarra’s thesis unfolded beautifully in a lineup that honored the commercial demands of the pre-collections while progressing his aesthetic.

Altuzarra’s sharp tailoring was softer, less severe on bright sheath dresses and jackets shown with elongated, flared trousers. A vivid mix of pale pink, red, cobalt blue and yellow came in ikat and elaborate embroidered fringe draped on lean shirts and dresses, offering a whiff of the tribal attitude with which the designer has worked before. But he also experimented with color in a new minimalist way: Maxi T-shirt dresses with color-blocked suede and leather stripes felt fresh and directional for the collection.

Handbags, now in their second season, were developed with intricate leather work that reflected the color work in the clothes. For shoes, exuberantly feathered sandals that resembled multicolored feather dusters, gave the otherwise chicly grounded collection

Neil Barrett offered a new take on traditional bouclé fabric by working it in a black-and-white camouflage pattern — just one element of his cohesive resort collection focused on a strong feminine aesthetic filled with men’s references. “Bouclé is usually very ladylike, so my idea was to make it look more street and cooler,” said the designer. The graphic cloth was cut into a range of easy-to-wear staples, including a biker jacket worn over a fluid, asymmetric dress; a knee-length skirt paired with a loose cotton crewneck sweater, and a linear coat with a round collar.

Playing with geometries, Barrett created movement in some pieces via pleated panels, which appeared on a bonded crepe and duchesse mini dress, as well as on ankle-length pants with a more masculine attitude. The collection also included chic and covetable outerwear hybrid options; one style combined the silhouettes of a peacoat and a cape, while another was a zippered, elongated bomber transformed into a coat.

Lela Rose channeled the style of Ali MacGraw “but in a much more modern way” for her resort lineup, which was full of American sportswear with a feminine twist — and a heavy dose of flower power. Rose likes the idea of separates for evening, and her collection offered several matching sets, like a navy blue and red floral-printed top with wide-legged, cropped pants — a new pant silhouette for the season — or metallic pale pink embroidered silk ply shorts with a matching double-faced twill top for day.

Rose’s ethereal gowns in featherweight organza came embroidered with beads, floral appliques or whimsical polka dot prints. A poppy-printed yellow satin dress, meanwhile, will be right at home at next year’s Veuve Clicquot Polo Classic.

Daniel Wingate covered a lot of territory with his Escada resort collection, a vast lineup of workwear, vacation wear and eveningwear. It was a mixed bag of hits and misses. Softly tailored wide-leg pants, a pleated tie-neck blouse and tuxedo-inspired evening jumpsuits were on the mark of sophisticated and practical modernity, while the monochromatic looks in orange and peachy pink felt fussy, although they gave the collection breadth for customers of all ages.

The freshest point of view came by way of heritage scarves — in honor of Escada’s 40th anniversary, Wingate reissued archive scarf prints on wrap tops, boardshorts and skirts that captured a playful, resort-esque energy.

Clean lines and comfortable silhouettes defined the Emporio Armani resort collection, which conveyed a sense of relaxed ease as Giorgio Armani infused a range of masculine pieces with gentle touches. He showed a fluid, elongated vest in a sweatshirt fleece combined with cotton lace and polyester treated to resemble silk crepe de chine, as well as a ribbed jersey double-breasted blazer layered under a deconstructed spring coat crafted in a soft silk blend.

Pants, done in stretch fabrics, were slightly high-waisted and cropped to reveal the ankle, while a cotton jersey dress had feminine, off-the-shoulder short sleeves. Flowers added a delicate finish to several looks, appearing as intarsia decorations on a silk georgette dress matched with a lambskin micro bomber, as well as embroideries on a pair of cropped and rolled-up washed denim pants.

“Pleasant aggressiveness” was the theme Karl Lagerfeld explored in his beautiful Fendi resort collection. The Strelitzia, commonly known as the bird of paradise flower, returned in this offering after first appearing as a prop on the designer’s fall runway, and perfectly embodied the contrasting soul of the Fendi woman. The flower’s delicate petals represented her more feminine nature, while its sharp leaves telegraphed her strong, determined attitude.

References to the colorful symbol were a constant in the lineup; they were used in arty graphics on a girly flared fil coupe silk shirt dress with a cotton poplin collar as well as in the fresh and vibrant pattern of an intarsia fur coat, which required 290 hours to be completed. The latter was worn over a delicate top and skirt crafted from laser-cut cotton with a lace effect.

For stronger silhouettes Lagerfeld reworked leather, which had been treated to create unexpected results. For example, it was woven into a denimlike texture for a front-pocket jacket and miniskirt, both embellished with contrasting napa leather details. The brand’s iconic Selleria leather was used for a chic belted shirt jacket paired with mini shorts. Its captivating, hyper luxury look contrasted with the playful, ironic spirit of

The American Southwest in combination with the work of Carl Auböck led Tory Burch in a notably relaxed, feminine direction for resort. “I’ve always been inspired by Auböck,” she said. “The way he takes commonplace utilitarian things and makes the most beautiful design, like a bottle opener or a glass and obviously beautiful furniture.” The utilitarianism was most obvious in slouchy cotton workwear pants in mustard yellow and army green. They felt new for Burch and gave a hardy, dressed-down tomboy vibe to the rest of the collection’s crafty, free spirit.

Southwestern basketry motifs showed up on woven knits and bajas, and on maxidresses, including a sexy cutout style, that came in desert patterns. Burch punctuated the dusty desert spirit with a deliberate dose of kitsch, jazzing up a woven sundress with a neckline embroidered with red chilis and developing Southwestern prints that featured amusing motifs such as a retro telephone. Basket-inspired handbags and fun jewelry accentuated the collection’s colorful state of play.

DKNY resort drew on the brand’s Nineties roots with an inspiration of Peter Lindbergh photos, which translated to a majority of black and white looks, sheer tulle and tuxedo dressing. There was a relaxed playfulness to the tailoring in the last category, such as a perfect white silk tuxedo blouse, a white jacket plied with feathers and a little black dress tied up in little bows.

For a little flash and panache, a slouchy knit sweater was coated in paintlike silver print and shown with a matching metallic leather skirt. Since resort is a season of many deliveries at the contemporary level, the collection moved on to cover color and texture with fluffy pink and burgundy wrap coats and sweaters and a classic navy section jazzed up with flashes of gold.

The contrast of masculine and feminine is the core of Marissa Webb’s aesthetic and she doesn’t see it changing any time soon. For resort she directed the look through a 1940s military surplus lens after looking at photographs of her grandfather from the time. Army green utility jackets with slouchy, rolled-up sleeves and necklines were generously cut but cinched at the waist — a detail that recurred on cutaway trench dresses, vests and blazers — to feminize the proportions.

The clothes were ideal for layering. And Webb’s knack for customizing classics, such as a pink trench vest that could double as a dress, a simple blazer with a silk back and a lace shirtdress with a veiled cutout back, make interesting pieces that can go a long way in a wardrobe.

For resort, Veronica Miele Beard and Veronica Swanson Beard wanted to make sure their girls’ wardrobe was covered for a range of holiday destinations. Dubbed Après-ski, Après-sun, the collection offered a Seventies-inspired suede jacket or ski sweaters paired with ponte pants alongside sheer lace dresses in poppy and chartreuse and crisp summer shirting. Evening looks included a black sequined tuxedo and a one-shoulder jumpsuit in a subtle leopard print.

Denim — a growing category for the brand — was updated for the season in a skinny flare with cargo pockets, and the signature dickey jacket came in a few new versions, one featuring a camel suede vest. This summer, the brand will introduce a custom dickey shop on their Web site, which is readying for a relaunch.

When Adam Lippes says something or someplace has inspired a collection, there’s no need to ask “How?” And for resort, Cuba’s influence was strikingly evident as the designer channeled his first trip to Havana in the Eighties as well as present-day influences from the island’s neighbor just to the north, Miami. The takeaway was a beautifully translated collection, his largest ever.

Starting with Cuba’s basic men’s shirt — the guayabera — Lippes added intricate fagoting, embroidery and frayed-edge fringes to create easy tunics and dresses in black or white basket weave viscose. He went more fluid with long, layered side-tied dresses, the best of which was done in sheer silk chiffon over a separate version in satin-backed crepe, both in a charming print of animals from the Cuban rain forest. Comfort is Lippes’ guiding creative conceit and for evening he paired flats or boots with relaxed pieces — a little Castro-green cashmere and cotton tank with matching pleated leather pants or a draped silk skirt. To ward off any chill, he added a knockout waxed cotton trenchcoat.

This was a collection that could easily be cited as all over the place. After all, there was also a beige camel hair jacket and coat, elaborately hand-crocheted

In a very short time, the Orley design trio of brothers Alex and Matthew Orley and Matthew’s wife, Samantha, have become darlings of the industry incubation set. They were finalists for the 2014 CFDA Fashion Fund, are current members of the CFDA Fashion Incubator, are on the short list for this year’s LVMH Prize and are nominated for the Swarovski Award for men’s wear at this year’s CFDAs.

To that end, until now Orley has been a men’s knitwear brand, dipping its toe in women’s with a capsule collection for fall and introducing its first full-fledged women’s line for resort — a collection that impressed with quirky charm and luxuriously novel stitch work. To a great extent the women’s collection, 100 percent knits as of now, reflected the men’s sensibility. “It’s youthful but not necessarily young,” Alex said. “We like to deconstruct old clothing or something nostalgic or retro. It feels familiar but done in a slightly subverted way.”

The touch of nerdy twee in a graphic blue and white twinset with a tipped, collared cardigan evolved toward chicly comfortable sportiness in a lean tank dress. With women’s design comes the opportunity to experiment beyond the boundaries of men’s wear, which the designers did with great, fluffy hand-crocheted tanks and

Preen designers Justin Thornton and Thea Bregazzi looked to the late stylist Ray Petri’s work at the Buffalo label, taking cues from the androgynous feel of his images from the early Eighties, for their latest resort collection. The duo infused the lineup with the “graphic” elements of Petri’s look — they did their signature floaty, drop-waist silk dresses in panels of contrasting black-and-white stripes and paired a crisp white shirt with a black lace pencil skirt, worn with oxfords and ankle socks.

But as a counterpoint to the masculinity, Thornton and Bregazzi channeled a name at the opposite end of the Eighties sartorial spectrum: Diana, Princess of Wales. They homed in on the sailor collars and statement dresses that the late royal wore — but their take looked modern rather than nostalgic. The designers did the sailor collars on a sweeping trenchcoat or on the silk top of a knitted maxidress, while a structured lemon-yellow dress with an obi belt referenced Diana’s stronger silhouettes.

“After my somber-palette fall runway show, I wanted to challenge myself working with colors,” said Julie de Libran, Sonia Rykiel’s artistic director, as she introduced her resort collection — a fresh, playful, kaleidoscopic lineup that was anything but subdued. Stripes are at the core of the Rykiel vocabulary and de Libran worked them in abundance: multicolored on woven cotton tweed jackets, bold and contrasty on a knit skirt suit with plastic thread embroidery down the front zipper, diagonal on sequin mesh dresses, or cascading like lasers on a knit halter dress embroidered with micro sequins.

Another leitmotif was vermilion red, which popped on allover satin bombers with matching shorts or as red patent-leather sandals worn with flouncy dresses in crinkle-pleated cotton, a highlight of the collection. A sense of fun emerged in a profusion of rhinestone pins and brooches, another Rykiel signature, used like charms to decorate a denim jacket. And this season, de Libran’s denim also mirrored the collection’s vibrant hues.

Wrap-waist trousers and tunic dresses came in diagonal-strip prints and Lutz emboldened the house’s solid cashmere with subtle graphic stitching and a bit of playful novelty, such as ponchos and a terry jumpsuit. The crisp palette of bright red and blue, plus black and white, made it all feel fresh.

“Urban beach” was the name of the game for resort at Diesel Black Gold, inspired by a recent trip designer Andreas Melbostad took to Venice Beach, Calif. “I liked this idea of street culture meets beach culture,” he said of the lineup, which borrowed elements from classic beachwear items — like wetsuits and board shorts — and infused them into easy streetwear separates such as printed silk pants and dresses adorned with studs and macramé lace.

Melbostad also introduced new denim silhouettes for the season — some featuring prints — which included oversize jackets with rounded shoulders and wide-legged jeans with a boyish fit, channeling a subtle Nineties skater vibe.

Inspired by Halston’s trip to Acapulco, Mexico, in 1976 — which the designer took with an entourage of “Halstonettes” in tow — Marie Mazelis channeled a tropical vibe for her sexy resort lineup. “I wanted to capture that spirit of glamour and ease and holiday,” she said.

Wide-legged jumpsuits, billowy blouses, sheer caftans and lightweight pleated dresses — done in a palette of punchy greens and lavenders, and punctuated with pops of black and white — had a retro feel with deep necklines, high slits and cutouts accented with hardware.

Peter Jensen’s charming resort collection looked to the late Nineties and early Aughts, the era that marked both the launch of his label and the release of the film “Ghost World.” Jensen took the movie’s outsider-ish main character Enid, played by Thora Birch, as his muse this season, noting that her style has an “element of tomboy — that’s when a girl to me looks strongest.”

The collection offered simple silhouettes that riffed on the film’s themes. Ice-cream colored pastels nodded to the palette of the retro-themed American diner in the movie, as in a polo shirt-style dress in a lemon yellow jacquard, or an ice-cream motif on a lilac crewneck sweater paired with cropped pants. There were also roomy smock dresses, done in blue-and-green and black-and-gray plaid, that channeled Enid’s grungy wardrobe.

Peter Copping’s creative direction at Oscar de la Renta is still in its infancy, as he discovers the world of the late designer and how to treat it. Resort was Copping’s second collection — third if you count bridal — for the house, and he used it to explore one of de la Renta’s signature motifs — bright color — through the lens of his favorite places. “I really wanted to marry two of Oscar’s worlds, New York City and Punta Cana,” Copping said. It goes without saying that de la Renta’s love for unapologetic femininity, which Copping shares, was also a major factor.

Beach colors of marigold, magenta, persimmon and marine blue were used in bold floral prints and embroideries, sometimes in tandem on printed dresses with embroidered over-bodices. Copping tends toward a light construction, which refreshed neat daywear, such as a black-and-white mini daisy dot cotton poplin skirt suit, and gave breathing room to voluminous taffeta gowns and cocktail dresses that riffed on opera coats. Swimwear-inspired bodices and a filmy caftan — Copping’s first ever — underscored the air of ease that’s wafting through the house.

At MM6 Maison Margiela resort, a white sleeveless tunic that unbuttoned at the shoulders revealed a silver sequined spaghetti-strap tank underneath. That sort of unexpected, built-in layering — to unveil contrasting textures, moods and materials — was a major theme throughout the collection, overseen by the house’s collective. The vibe was one of undone, effortless cool.

The lineup also featured new takes on industrial workwear in oversize proportions — some jackets and pants covered in splattered paint or trippy floral prints — in an offbeat, vaguely Seventies palette featuring pops of orange, teal and mint green.

For her Clover Canyon resort collection, Rozae Nichols evoked the spirit of The Pike — the amusement park in Long Beach, Calif. that she used to visit as a child — with a fun, happy, print-heavy collection rooted in Sixties silhouettes. “We wanted to do an homage to the very classic idea of resort,” Nichols said of her lineup of flirty shift dresses, miniskirts, crop tops and caftans done mostly in Neoprene, crepe de chine and chiffon.
The looks were rendered in colorful hand-painted stripes — a new print for the label — as well as paisley, a California poppy floral and a dot print. Some styles were adorned with lace-up necklines, laser-cut or Lurex trims and oversize grommet details. Elsewhere, a navy-and-white striped halter-neck top and high-waisted sailor pants riffed on classic nautical themes.

Christopher Bailey spun piles of lace, macramé and gold ribbon into a knockout resort collection that was heavy on texture and contrast. The new, stiffer and more structured silhouettes were a departure from the embellished bohemian ones of recent seasons, their fitted, feminine lines channeling classic society looks but with a modern point of view. Burberry’s chief creative and chief executive officer billed the season’s offer as “one-piece” dressing and it was heavy on statement dresses and coats.

The former were crafted from a combination of white Nottingham lace and black macramé flowers, cornflower blue or salmon pink Chantilly lace, and structured metallic gold ribbon that resembled military braiding. As Burberry ups its presence on the red carpet, gowns have begun to play a bigger role. Among the standouts was a slim one with a high waist, done in black mesh with flecks of metallic silver embroidery.

Coats were dramatic with clean lines. At times, they mimicked the dresses’ textures, as in one white haircalf design that was laser cut to resemble lace. A dark trench with a full, sculpted skirt was embroidered with thick cotton strips in an Azteclike geometric pattern, while a navy blue, double-breasted style was made from coated

Beth Bugdaycay launched her Foundrae brand earlier this year with a full-fledged fall collection — including jewelry — just in time for the February wholesale market. For her first official resort collection, the creative director had her eye on the Egyptian revival, which started in the 19th century and flourished throughout the Twenties.

An eclectic, bohemian feel reverberated throughout the looks, particularly the flowing, printed dresses with pops of color and an oversize vest with fringed, beaded tassels. “We keep describing our girl as artful and refined,” Bugdaycay said. “There’s an ease about it.” Graphic elements, such as colorful leather snakeskin and suede patches on sweaters, added a modern, unexpected update to the collection’s more basic items.

Italian brand Max Mara took the fighting spirit of post-World War II Britain as the inspiration for its resort collection, and for a one-off runway show staged at its new flagship on Bond Street in London. The collection had a sporty, masculine feel, with loose silhouettes and shapes inspired by boxing champs and flying aces. There were dark blue pinstripes galore — worked into smart belted capes, fluid jumpsuits with stretchy waistbands and curvy strapless dresses.
The brand’s signature belted coats were even more loose and languid this season, with hoods and oversize pockets inspired by boxers’ robes. They sparkled in metallic fabric or had a tie-dyed print. Other bolder and more structured coats were done in a patchwork of crushed haircalf and came in rich shades of eggplant or teal. Trouser suits were loose and crinkly – as if they’d spent too much time in the spin cycle — their silhouettes contrasting sharply with sparkly, figure-hugging dresses with racer backs.

Sticking to the same design codes for resort 2016 as they did for fall 2015, the Sonia by Sonia Rykiel team, working under Julie de Libran’s artistic direction, again presented the collection styled on illustrator/model Langley Fox (Mariel Hemingway’s daughter) posing in a Left Bank café for photographer Sonia Sieff (Seventies photographer Jeanloup Sieff’s daughter).

There is a sense of family in both the Rykiel business and the way de Libran is putting her spin on the now Chinese-owned brand. The resort collection, loosely based on Italian designer Carlo Mollino’s Polaroid photos of pin-ups, further developed key Rykiel signatures, such as stripes, done here in a nautical cream-and-navy tweed skirt and matching top or in a trompe l’oeil knit dress with a layered look.

The design team also mixed in denim pieces suited to a Parisian-chic contemporary wardrobe, including a retro-cut pant with patch pocket on the front worn under a trench with faux pony print sleeves. The faux-fur elements and a sexier, more rock ’n’ roll direction — both carryovers from last season — continued to bring a dose of cool, youthful attitude to Rykiel’s contemporary line.

For the most part, common sense guided Tomas Maier for resort, organizing the collection’s aesthetics within a pragmatic framework. “There’s a mood board, obviously, and a desire for color,” said the designer, who chose shades of pink, red, orange and blue. “Then there is the question of what a woman would need at that time of year.”

To Maier, the October-November delivery schedule requires mood-lifting color and light fabrics designed in silhouettes that bridge the runway seasons. That meant literally connecting the crazy dots of the fall runway, here distilled in more manageable abstract patchwork pleated skirts shown with chic, classic black V-necks and turtlenecks in ultralight, sheer viscose. There was a dressed-up, sporty ease to the Japanese fleece sweatshirts, track jackets and tailored pencil skirts, likewise the unlined pink shearling jacket over an orange turtleneck and loose pants. Almost everything was shown with flats: slip-on sneakers or chicly rustic embroidered sandals.

From a consumer perspective, Maier considers the runway almost a collection of collectors’ items — a client might buy one or two pieces, not full looks — but resort is “about clothes we would all wear every day,” he said.

CANNES, France — With shape one of the essential ingredients of fashion, Raf Simons and Dior sent home an unforgettable message for the cruise 2016 season, parading an architectural, yet frothy collection at Pierre Cardin’s otherworldly Bubble Palace, whose interlocking spheres cling to the rocky hills above the Bay of Cannes.

In the latest itinerant fashion spectacle, Dior staged a trio of shows at the sprawling home, with models parading in front of the house’s reddish-brown protrusions wearing checked neo-Bar suits, smock dresses and knitted rompers.

“Look at this view. The most amazing place in the south of France,” Simons said during a terrace preview as water trickled over red marble infinity pools, and now and then a camera-equipped drone bobbed into view.

The designer said he poured the legacy of the south of France — a magnet for artists, the jet set and the film elite since the Twenties — into this perky collection, not forgetting the holiday spirit of the place. Flat, sock-lined booties and leather flip-flops gave everything a casual ease, as did a breeze wafting through the models’ hair as they negotiated around pools and through reception rooms flooded with natural light via portholes.
The Belgian designer first learned about the Bubble Palace

The Just Cavalli design team took an imaginative trip to Japan for the brand’s young and fun resort collection.

In particular, it focused on Tokyo’s Harajuku district, a gathering spot for eccentric teens who dress in elaborate, customized outfits. The collection’s mood also veered toward Las Vegas with a series of funky, rock-inspired pieces, such as a fringed leather jacket with metallic accents paired with a matching miniskirt, and a sleeveless zippered leather dress worn over a feminine silk blouse.

The lineup incorporated traditional Japanese iconographic elements as well, such as the floral pattern on a short silk cadi skirt worn with a ruffled chiffon blouse or the obi-inspired belts decorating a range of outfits, including a girly, high-waisted viscose jersey dress.

A year into his own collection, Tomas Maier has accomplished much with his concept of “easy pieces for the casual side of life.” He opened his second store in Manhattan — and fourth overall — last month, with another slated to open in Bal Harbour, Fla., in a few weeks. The line now includes women’s, men’s, shoes, bags, scarves, jewelry and hats, and as of his resort offer, all of it is as good-looking as it is smart.
Maier’s look fits his lifestyle — city and beach — and the pieces in the collection can go a long way in either direction. There were nifty cashmere cardigans cut short in the back with long panels in the front that could be wrapped around the body and buttoned to create chic and novel configurations. One could mix and match looks easily: The Japanese denim with frayed edges, the nylon track shorts, parachute taffeta pants and safari dresses, cotton satin bonded A-line skirt and Japanese polyester maxidresses were prime for dressing up with Maier’s brass jewelry, or down with his vast selection of flats. “There are so many cute styles within that range, you can really make a woman look good with flats,” he said.

Fresh, summery prints and relaxed silhouettes gave a sense of modern ease to the Etro resort collection.
“I mixed the colorful and joyful patterns of Matisse with the house trademark: the paisley design,” said the brand’s creative director Veronica Etro, who developed a range of motifs, from graphic to flamboyant.
Patterns included a large floral print that added a bold touch to fluid double crepe de chine pants. These were paired with a casual viscose and cotton sweater or with an oversize ruffled blouse and a mink fur intarsia jacket with marabou details.
Etro also infused an arty flair into a crepe de chine two-piece dress featuring a slip style stitched with a T-shirt, while a collarless silk georgette top with sophisticated embroideries on the sleeves was matched with a crepe de chine maxiskirt for a boho-chic effect.

Before his resort show for Boss, Jason Wu pointed out that 100 percent of the collection will be sold in the company’s stores, compared to a fraction of the main seasons’ runway collections. With that in mind, the lineup was pragmatic and reality-based — which is always the case at Boss, a company known for its sharp, professional tailoring — but Wu focused on “injecting a sense of ease into the clothes.”
He did so successfully through a soft palette of light gray and khaki, shown on color-blocked separates and knit jacquards in a wave pattern that gave the looks a crisp sense of movement. Some of the best pieces showed the softer, more feminine side of Boss tailoring, such as wrap coats and clingy ribbed knits with hardware details at the neck that gave a sensual contrast to the otherwise conservative cuts.

Paris might be the current home of French-girl cool, but it’s hot spots like Cannes, St. Tropez, and Nice that have long been destinations for bombshell beauty à la française. “It’s a legend that started with Brigitte Bardot,” said makeup artist Peter Philips backstage at Christian Dior’s resort show. “She came to the Côte d’Azur because it was the only place where she could be herself.”

Views of the French Riviera from the runway inside Pierre Cardin’s iconic bubble house today were awe-inspiring to say the least. And it’s no wonder that Philips mined the mythology of that storied landscape to complement Raf Simons’s curvilinear collection. With skin that was touched with little more than the first blush of summer, the models had a luminous glow.

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Photo: Courtesy of Dior

That barely-there effect was achieved with Dior’s Star Fluid foundation as a base and a light dusting of Skinflash highlighter along the temples, nose, and cheeks. The natural flush was amped up with a rosy pink cream blush and minimal eye makeup: a single stroke of liner along the bottom lid and a coat of Diorshow mascara applied solely at the root. Afterward, he followed with a swipe of the company’s clear brow gel along the entire lash. “It’s like putting conditioner in your hair,” said Philips of the trompe l’oeil effect. “It enhances the lashes without making them shiny.” A good dose of Dior’s Lip Maximizer in the newest shade of sunkissed was painted on to lips and then blotted just moments before the models took to the runway—the resulting pout had vacationing French movie star all over it.

As for those tousled south-of-France beach waves? The trick to getting them right, said hairstylist Guido Palau, was as simple as letting them air dry before going over them with a fine mist of Redken Diamond Oil Shatterproof High Shine spray. “It’s the epitome of easy, natural texture,” he said.

The Met Gala came and went this week, leaving a trail of glitter and tulle in its wake (as well as a rather remarkable rear view, if one takes Kanye West’s snap of a retreating Kim Kardashian and Jennifer Lopez into consideration), and the chic set packed up for Palm Springs and Nicolas Ghesquière’s cruise collection for Louis Vuitton soon after; posing prettily on the grounds of Bob and Dolores Hope’s John Lautner–designed estate or the nearby Parker hotel. Some stepped out of the action to catch some sun (or dodge it, under an oversize straw hat) while others made a chase for monochromatic ensembles in seasonal verdant shades. Either way, spring has decidedly arrived.

CANCUN, MEXICO—Grateful for the veteran insight into the hotel accommodations and surrounding attractions, new arrivals to the Flamingo Hotel and Villas reportedly received indispensable advice Friday from a wise couple who had already been at the r…

6 Shore Road is a playful yet edgy swimwear and apparel brand that was founded by the renown designer, Pooja Kharbanda. Pooja was born in India, spent her childhood in Hong Kong and Panama City, Panama and infuses her design inspiration from old and new travels into her swimwear brand that transitions from day to night.